The mystery of Shan-shui...
The panda is an endemic bear species of China, typically inhabiting the mountain ranges located in the central part of the country, specifically in the province of Sichuan. This gentle giant has always been adored by the Chinese people, who have often recognized it as a symbol of peace, to be used both as a gift and as a tool to ward off evil spirits. Within Chinese art, however, we must refer to Shan-shui, a landscape painting genre in which the panda has only later found its place. In fact, until the 20th century, this figurative tradition, often featuring mountains and bamboo, did not include depictions of the mammal. But why? Let's gradually discover the reasons, presenting a narrative that spans from the 5th century to the present day, showcasing the work of Chinese masters, accompanied by three theme-related artworks created by Artmajeur artists. Let's start by clarifying what Shan-shui means!
PANDA #1 (2023)Digital Arts by Khélène
入空（MEDITATION PANDA） (2023)Sculpture by Zhao Yongchang
Shan-shui
Characteristics: Chinese landscape painting, created using brushes, ink, and conventional colors, primarily capturing mountains, rivers, and waterfalls.
Dating and history: Shan-shui painting dates back to the 5th century when artists used to immortalize mountains, regarded as sacred sites in China, as the abodes of immortals, skillfully situated near the heavens. Furthermore, this interest in nature also finds its roots in the mystical connotations of Taoism, which emphasizes the celebration of creation and the vastness of nature in contrast to human insignificance. Adding to this, the Neo-Confucian interest in the principles governing natural phenomena contributed to the creation of compositions characterized by highly structured and organized landscapes. Considering the above, we can summarize by saying that Shan-shui artists did not specifically aim for realism; instead, they were more focused on giving form to their philosophical interpretation of nature.
Example: The human figure appears as extremely small within a work, clearly aimed at celebrating the vastness of creation, which in this case, devoid of animals, is depicted in "Poet on a Mountaintop," a painting by Shen Zhou (1427-1509). This masterpiece from the Ming Dynasty clearly highlights the principles of Taoism, revealing a connection between humans and nature that serves as an opportunity for the intellectual and spiritual growth of the individual, now necessarily distant from the urban context. Finally, the artist, through some celebratory verses about nature present on the support, as well as the presence of the aforementioned small figure, seems to project himself into the artwork, presenting himself as an extension of the viewer.
OURS POP ART PANDA 45CM CO. N°4 (2022)Sculpture by Harouna Andre Guillabert Gacko
Here come the pandas!
We have finally come to fill the big, furry gap in question, as we will present some works, mainly more or less traditional landscapes of contemporary China, in which the panda will now be the undisputed protagonist! But, before we get to what was announced, I would like to try to hypothesize why the aforementioned animal has been excluded from artistic narrative for so long (from the 5th century until the advent of the 20th century!). There are two options: a simple one, the other more complex. The first: one could think that, unlike the culture of the 20th century West, the panda was not originally considered so interesting by the Chinese. The second: it is likely that in China the white and brown panda was initially more common, a decidedly less flashy variant, as well as quite similar to the appearance of a simpler bear. Although these hypotheses are neither exhaustive nor certain, it is a fact that the popularity of the animal in the figurative arts, both Asian and Western, has reached great heights today. In this regard, I can refer to the work of the Chinese artists Xie Ganghua, Zhang Qikai, Wang Shenyong, Wu Changjiang, and Mi Jinming. The first is known for creating realistic pandas, mainly in oil on ceramic in white and blue, while the second deals with the same subject by referring to the stylistic elements of Surrealism, depicting pandas in fantastic scenes where they are always ready to experience different adventures. As for Wang Shenyong, on the other hand, he brings Shan-shui to life by inserting highly detailed pandas, clearly distinguishing himself from Wu Changjiang, an artist who creates landscapes with more Western stylings. Finally, the panda has also been interpreted by Mi Jinming, whose unique perspective has brought together Chinese tradition and European expressionism within changing landscapes, ready to vary from mountains to the sea... Now it's up to the artists of Artmajeur!
PANDA PAINTING (2023)Painting by Vincent Bardou
Vincent Bardou: Panda painting
A recurring black and white subject (the panda), along with another, once again in black and white, that is nothing short of iconic (the man in uniform)! In fact, policemen have been immortalized by great masters of Street art, I refer to the various interpretations of the subject by both Basquiat and Banksy. As for the British artist, he seems particularly obsessed with this theme, as most of his works, mostly illegal, must effectively evade the penalties of law enforcement. In fact, it is said that only at the age of 18, to be faster in executing his graffiti and avoiding getting caught by the police, he began to prefer the quicker stencil technique. Regarding Bardou's panda in uniform, if we were to find a parallel with Banksy's interpretations, we should look for works that are less, at least in appearance, harsh and critical of the police, such as the more pacified Flying Copper and Battle of the Beanfield, masterpieces in which the police, losing credibility, also seem less dangerous.
PANDA (2022)Digital Arts by Beiza Wieland
Beiza Wieland: panda
Digital art has reproduced a panda, standing out on a simulated glass surface, ready to evoke a must in art history: stained glass! By the latter term, we mean a set of colored glass tiles, mounted on a wooden or metal framework, conceived as a decorative element for windows or large openings. As for the origins of stained glass, it has existed since Roman times, a period during which, with the discovery of mold blowing and the drop in the price of glass, the custom of decorating buildings with colored glass spread. What was described remained in use in the Romanesque period, although it reached its peak in Gothic architecture, while in the Baroque period interest in stained glass declined. A revival of interest in the genre will have to wait for the Art Nouveau period, when stained glass experienced a great revival, once again developing new glass processing and rendering techniques. Regarding Wieland, an artist from Artmajeur who has combined "stained glass" and digital art, she mainly creates her figurative art by following the movements of her heart, ready to give voice to the beauty of the world around us, synthesizing it in images full of sensitivity. We can imagine this entire creative process as follows: Wieland creates her digital art while listening to classical music, sounds that elevate her spirit, making it swirl like a feather.
PANDA IN BAMBOO FOREST (2023)Drawing by Péchane
Péchane: Panda in bamboo forest
Tradition once again speaks through Péchane's art, as he says he expresses himself through a technique borrowed from older figurativism, this time Japanese, known for making a few lines through the use of dark ink on paper. This process is called sumi-e, a rather complex execution mode, as it must respond to certain characteristics, including sobriety and spontaneity. This practice, devoid of any preparatory strokes, was introduced in Japan by Zen monks in order to express in reduced, pure, and bare form the features of reality. In fact, touch-ups and decorations that could obscure the authenticity of art are banned, depriving the viewer of the true flavor of nature. Furthermore, just as in Zen philosophy, a few words during meditation are sufficient, here, in the same way, a few strokes of black ink are enough to grasp the only truth of essence. Finally, it is worth highlighting how the practice of sumi-e involves the whole body of the painter, as the same subjects are repeated to coordinate body and spirit, which is not spontaneous at first. Mastery of the technique is possible with consistency, but it is necessary to proceed with patience and without aspiring to beauty, as the spirit must be free from any desire for success and ambition, freeing itself from the obsessions of perfection.
Olimpia Gaia Martinelli
